This paper studied in the literature records and the current issues of dance reconstruction of <Komaryo>. According to 『Gyoukunsho』, <Komaryo> danced on a ‘Komagata’(shaped like a horse). This paper pays attention on ‘Komagata’ of <Komaryo>.
Komagata is a horse sculpture and symbolizes a divine being, swift dragon-horse. But <Komaryo> is emphasizing a swift dragon, not a horse, so it became an important point determining performance style. For instance, <Komaryo>, reconstructed by Tenri University, is a two-person dance, with dragon-shaped costumes and silver rods and the cintamani (如意珠) as props.
However, the problem is that while the image of the dragon was embodied, the Komagata shown in the literature was not used at all.
Accordingly, Tenri University’s reconstruction of <Komaryo> requires supplementation, modification, and reconsideration in many ways. Tenri University’s attempting to reconstruct works that have not been transmitted has the primary purpose, which performs musics that have not been performed so far, not research.
But I think, considering the historicity and significance of Gagaku(雅楽), which has been handed down from East Asian countries including Korea, it is necessary to consider approaching of literature records, not only the possibility of performances. It expects that the <Komaryo> will be supplemented through more extensive research and soliciting opinions.